Oscars

John Woo is concerned that he will go down in cinema history only as an action film director, albeit one of the masters. So the man who made his name in Hong Kong with the distinctive balletic style of his blood-soaked movies, and then conquered Hollywood with “Face/Off” and “Mission: Impossible 2”, has decided to move away from what he does best and try his hand at drama and — maybe even a musical.

“I want to do a film without violence,” he says in his office at the MGM complex in Santa Monica, California, “and a musical is one of my biggest dreams. There is so much confusion in the world today, so much hatred and lack of understanding, and I’d love to make noble and spiritual films”…

Jeffrey Wigand still can’t believe he is the main character in a Hollywood blockbuster. “Are you kidding me? I didn’t think I’d survive.”

It has been more than five years since the man now known as the first tobacco industry whistleblower became the most senior executive to break ranks. But neither “The Insider”, the Oscar-nominated film starring Al Pacino, nor the publicity that surrounded Wigand’s crusade against big tobacco companies has bestowed on him even the slightest touch of celebrity.

I expected to meet a bitter and emotionally withered man who, after an infamous 1995 interview with CBS’s Mike Wallace, would carefully measure every word he uttered to a reporter. But I couldn’t have been more wrong…

Just after 3 pm on an unseasonably hot spring day, an elegant, black sports car pulls up in front of a posh, downtown hotel in San Francisco, and out steps Sharon Stone. Sporting a stylish red scarf, she takes off her sunglasses and walks towards a virile-looking man in a dark suit and cowboy boots. This is Phil Bronstein, her husband of two years and executive editor of the San Francisco Examiner.

Stone and Bronstein then sit down for their first interview together since their wedding on Valentine’s Day, 1998. At the time, gossip columnists were quick to give their marriage no more than a year. They were wrong, but the couple acknowledge the difficulties of a marriage involving two of the most fickle of all professions.

“You work really, really hard at it, because that’s what’s required for a successful relationship,” Stone says, once the waiters in the hotel’s restaurant finally retire, having assured her of the pleasure of her presence…

Tim Robbins seems a man of contrasts at first, but what appear to be conflicting sides of his personality actually complement each other in a character of the rarest type. He has the ability to engage in the most profound conversation while provoking a genuine and contaminating laughter. On screen, he has been naively stupid (in “Bull Durham” and “The Hudsucker Proxy”) as well as shrewdly slick (in “The Player” and “The Shawshank Redemption”). And, of course, his dimpled babyish face tops a nearly 6’5” body.

So no wonder the actor-writer-director-producer Robbins is crusading against labels and stereotypes, the most common of which in his case have been “political” and “liberal”. He says he doesn’t “buy the liberal thing”, but appreciates progressivism and libertarianism. He also notes that he has a hard time distinguishing between Democrats and Republicans.

“The great illusion in America is that we have a choice, because if we don’t have that illusion, we don’t have a democracy,” he says…

John Malkovich fails all attempts to describe him, even though he is not necessarily an enigma. The moment you utter a word supposed to illustrate a certain part of his character, you realise that another one, with quite a different meaning, would suit him much better. The most common adjective people use to express their opinions of him — both complimentary and dismissive — is “weird”, but, with a little imagination, most of what he says and does makes sense.

In fact, imagination and creativity are key to understanding an actor who has starred in nearly 40 films over only 18 years, including “Empire of the Sun”, “The Glass Menagerie”, “Of Mice and Men” and “Being John Malkovich”, and just directed his first, “The Dancer Upstairs”, yet still claims to have “no knowledge of what a real movie is”…

Anjelica Huston has already come to terms with the fact that her first half-century will soon be behind her, but the prospect of joining the ranks of Hollywood’s much-pitied unemployed middle-aged actresses has yet to make her list of immediate concerns. With three films scheduled for release this year, another one having just started production and a script she’s writing to direct, Huston is now busier than she was in her early thirties.

She claims that one can “always find jobs” in show business, or “create jobs if one can’t find them”, although she says that her turning to writing and directing “certainly wasn’t as a result of not getting any work”.

“Most young actors aren’t being offered parts, either, so what’s the point of harping on a negative when you can create something?” she demands. “Go to a class, learn to dance, do something with your life but don’t sit complaining about what you haven’t got. I don’t have $100m — it’s too bad. But I can go and figure something that will get me my next $10m”…

Milos Forman has never rebelled against his films being labelled “quintessentially American” — he is just not a revolutionary type, he says — but the Czech-born director passionately dismisses such categorisation every time he is asked about it.

“For me, ‘One Flew Over the Cuckoo’s Nest’ is a Czech film, because when you are young in a communist country, all you dream about is breaking free,” he says of his 1975 film set in a psychiatric hospital, which earned him his first Oscar and established him as one of the world’s most prominent film-makers.

“Hair” (1979), another Forman movie now considered a classic, “was about young people rising up against the status quo — something we all dreamt about under communism but didn’t dare to do,” says the 70-year-old director…

Denzel Washington can easily make you believe that you know him. He skilfully uses the familiarity audiences feel with a screen star they have watched for years, and adds to it the casual manner of your neighbour or basketball team-mate.

Truth be told, once he could indeed have lived next-door — back in his youth when alcohol seemed the best medicine for confusion and despair. But now he is one of the most respected and bankable actors of his generation, who has proved that being black in Hollywood is not a casting risk and whose skin colour has become completely irrelevant in his work.

The 47-year-old actor says he will always cherish the roles of black men he has played, such as a runaway slave in the civil war epic “Glory” (1989), a South African activist in “Cry Freedom” (1987) and a controversial Muslim leader in “Malcolm X” (1992)…

Kevin Costner has never given up on his search for the people who he reckons are the most “difficult to find”: the ones “who think outside the box”. He looked for them — futilely yet persistently — when he first called himself an actor and hoped that someone would hire an ambitious college graduate without a single acting credit on his CV.

He broke just about every Hollywood rule when he produced, directed and starred in “Dances with Wolves”, the more than three hour-long western epic he had been repeatedly warned against, and it won him an Academy Award for best director, the respect of the film-making community and tens of millions of dollars.

He then defied all modern trends in his business, choosing non-commercial — and often unattractive by many standards — roles, some of which provoked harsh criticism and doubts about his talent. He has invested more than $20m in businesses that haven’t made him a dime, and has been trying for years to build a luxurious resort in the Black Hills of South Dakota, against the will of the Sioux Indians…